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13 July 2016


 Time Title Presenter(s)
 9.00 Registration and refreshments  
10.00 SMA AGM  
10.45 Welcome and keynote one Ludwig Holtmeier
13.00 Lunch  
14.00 Parallel sessions  
  Rehearsal hall

D'Anglebert 'The Unmeasured Preludes of D'Anglebert: an analysis with emphasis on the linearity of the voice-leading' (Lecture recital)

 

Panos Iliopoulos 

 

Seminar room
20th Century

'Orientation in Multi-dimensional Spaces: Form-Meaning Pairings in 20th Century Songs'

'Retrospective interpretation of Bachian ornamentation in the early 20th century: Hugo Goldschmidt's Ornamentik (1907) between analysis and vocal didactics'

'Sunrise, Sunset: Using Metaphors of Nature to Understand Text-Music Relations in Charles Ives's Last Composition'

'Uniting Temporal Structures in Black Angels: "the Vietnam Quartet" on/as War Narrative'

 


Antonella Di Giulio


Livio Marcaletti



David Thurmaier

 

Joshua DeVries

 

Endsleigh room
Medieval

'Mary, Mary, Mary Quite Contrary: Reconstructing Chant of Barking Abbey's Late-Medieval Visitatio Sepulchri Drama'

'Exemplifying Hexachordal Mutation in the 14th and 15th Centuries'

'A Generative Representation of Mo 311 in Montpellier Codex'

 


Alison F. Kaufman

 

Adam Whittaker


Oguzhan Tugral

 

ACLT
Pedagogy I

'Saverio Valente and his forgotten art of teaching canto'

'Blood, sweat, and scales: the birth of modern bureaucracy and the Paris Conservatoire'

'Tracking aural skills training in Zingarelli's solfeggi'

'Engaging Punk Pedagogy: Teaching Musical Literacies and Creative Notational Practices'

 


Maria Luisa Baroni


Diane Tisdall


Claire Roberts

Jessica A. Schwartz

16.00 Refreshments  


14 July 2016

 
 Time Title Presenter(s)
9.30 Parallel sessions  
 

Seminar room
Late 19th Century Symphony

'Reassessing Strauss's late aesthetic: form and function in Malvern'

'The Arrival 6/4 in Wagner's Walküre'

'A parody of grandeur or the grandeur of parody?' Self-reflexivity in the Finale of Mahler's Seventh Symphony

'Conflict in the Theorization of Rotation: Sibelian Form or Formal Principle?'

 


Emily Xiu Xien Tan


Ji Yeon Lee

Rebecca Day

 

Sarah Moynihan

 

Endsleigh room
Sixteenth-Century

'Music analysis and the reconstruction of incomplete polyphony: a virtuous circle?'

'The reconstruction of incomplete polyphony: two case studies'

'Structure, material and rhetoric in Osculetur me by G.P. da Palestrina: reading from Italian sources'

'Imitative and motivic patterns in the analysis of Willaert's "magnum haereditatis mysterium": polyphonic density as means of dramatic expression'

 


Marina Toffetti


Chiara Comparini


Carlos Iafelice


Fernando C. Pereira and Marcos P. Nogueira

 

ACLT
Piano

'Ancient and Modern Syntax in the Early Nineteenth-Century Piano Étude: Chopin's Op. 10 Reconsidered'

'Bach--Rheinberger--Reger: Goldberg Variations. Analyzing a Multi-Transcription'

'The piano studies of Pedro Albéniz: a key to the technical development in Spain'

'Pianistic linearity and identity in the 20th century concerto: Prokofiev's 'Armless' Concerto'

 


Matthew Riley


Benjamin Vogels


Laura de Miguel Fuertes


Emily Scanlon

11.30 Refreshments  
11.45 Parallel sessions  
  Recital hall (11.30-12.30)

‘Performing Subjectivity: Iterative vs Reiterative Paradigms for the Expression of Metre in Pre-Neoclassicist Performance Practices’ (Lecture-recital)

 

Robert Hill

 

Seminar room
China

‘Linguistic Parameters in Contemporary Chinese Choral Music’

‘The evolving notion of gamme chinoise from Amiot to Courant’

‘Pedagogy as ideology: how functional was Riemann in China?’

‘Built-in Pentatonic Collections in Chinese Twelve-note Music’

 


David Ho-Yi Chan


John Lam

 
Hong Ding and Cheong Wai-Ling

John Lai

 

Endsleigh room
Pedagogy II

Légende by Henriette Renié as a musical illustration of a poem «Les Elfes» by Charles Marie Leconte de Lisle. The issues of an interdisciplinary approach, music pedagogy and historical research’

‘Creative enhancement of creative potentials by connecting classical harmony with Jazz harmony and composition’

‘Re-Enchanting the Study of Music History and Analysis’

 


Temina Cadi Sulumuna

 


Markus Preissl



Sara Haefeli

 

ACLT
20th Century

‘Typology of relations between acoustic instruments and electronics in mixed works by Saariaho, Berio and Harvey’

‘Britten, Poulenc, and the compulsion to repeat’

‘Second-order observation and Luening's Aleatory music of 1923’

‘Peter Maxwell Davies's Worldes Blis and its title's implications questioning a supposed chronology’

 


René Mogensen



Paul Harper-Scott

Andrew Wilson


Jo Wilhelm Siebert

13.45 Lunch  
14.30 Parallel sessions  
 

Recital hall

‘Koch and Momigny: Theorists of Agency in Mozart's Quartets?’ (60 mins)

 

Edward Klorman

 

Seminar room
Schoenberg and Stravinsky

‘Schoenberg's Relationship to the Text of Da meine Lippen reglos sind und brennen (op. 15/4)’

‘Music Analysis and the Construction of Historical Knowledge: The Case of Stravinsky's Serial Compositions’

‘Approaches to brevity and dislocation: finding continuity in Stravinsky's Movements’

‘Rethinking Repetition: Schoenberg and the 'endless reshaping of a basic shape'’

 


Mark Delaere


Kristof Boucquet



Martin Scheuregger


Áine Heneghan

 

Endsleigh room
Schenker

‘Expressive Ambiguity in Musical Structure: A Schenkerian View of Schubert's Op. 94, No. 6’

‘Correlations of Tonal and Linguistic Syntax: A Case Study’

‘Schenkerian Unrolling and Schoenbergian Unfolding’

‘Heinrich Schenker and Ways of Listening’

 


Nathan Pell


Robert Snarrenberg


Matthew Arndt

Kirstie Hewlett

 

ACLT
Partimento and Analysis

‘The Role of the Improviser in 21st century partimento practice’

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‘Positional Analysis--and 'And You And I'’

 


Benjamin Katz


Fabio Dell'Aversana

Anthony Abouhamad

John Covach

16.30 Refreshments  
17.00 Keynote two Katelijne Schiltz
18.30 Wine reception  

  

15 July 2016

 Time Title Presenter(s)
9.30 Parallel sessions  
 

Seminar room
19th Century

‘Bass and Voice Leading in the Nineteenth-Century Prinner’

‘Resisting "Psychological" Music or, How Joachim Shook Off the Minor Mode’

‘The Feminine Sublime in Schubert’

‘The Emotional Epidemiology of Music Analysis’

 


Michael Weiss


Katharina Uhde


Deirdre Toh

Nathan Fleshner

 

Endsleigh room
20th Century

‘The seed of Beethoven in the Works of Bartok and Shostakovich’

‘Perched on the Edge: Instability and Dynamism Carl Nielsen’s Harmony’

‘Beyond Humanism? Hans Werner Henze, Orpheus and the Humanism of Pathos’

‘Three guiding concepts of composition processes of Olivier Messiaen’

 


María Isabel Muñoz Fernández


Christopher Tarrant


Mauro Fosco Bertola


Adriano Lopes Moreira

 

ACLT
Pedagogy III

‘Between Freedom and Constraint: Improvisation, Audience, and Pedagogy’

‘"What if it had Been Different?": Role-Playing Games as Practice-Based Teaching and Research’

‘From Fundamentals to Form: Spiral Learning with Beethoven's Pathétique Sonata’

 


Feng-Shu Lee

Christopher J. Smith


Susan de Ghizé

11.30 Refreshments  
11.45 Parallel sessions  
 

Recital hall

‘American Impressionist: The Development of Richard Hageman as Song Composer’ (Lecture-recital)

 

Nico de Villiers

 

Seminar room
Schemata

‘The formal behaviour of Gjerdingen's 'Prinner' in Sarti's church arias for the Milan Cathedral’

‘Music Analysis and the Nineteenth Century Italian Opera Season: The Importance of Neapolitan Compositional Legacy in Pedagogic Traditions’

‘The implicit recognition of Marpurg's Galant Cadence: between practice and theory’

‘Teaching Eighteenth-Century Music Through Composition’

 


Marilena Laterza


Marco Pollaci

 

David Lodewyckx


Adem Merter Birson

 

Endsleigh room
Pop and extras

‘Methods of Tonicization in Rock Music’

‘'The market of sounds': Rehearsing an acousmatic listenership, 1968-1977’

‘Experiments in collaborative analysis: making sense of ṭhumrī with expert listeners’

‘Defending Musical Stage Theory’

 


Brett Clement

Patrick Valiquet

 
Chloe Alaghband-Zadeh

 
Caterina Moruzzi

 

ACLT
19th Century

‘Schumann's Drei Romanzen Op. 94: Lieder ohne Worte?’

‘The Calm Before the Tempest: Aspects of "Form as Process" in Beethoven's Early Compositional Period’

‘Formal Processuality in Beethoven's Opus 31 Nr. 1 - A Discourse Between Two Narratives’

‘"Yet on the other hand…"- varied early 19th century approaches to natural horn hand technique’

 


Helen Thomas

Catello Gallotti 


Vasilis Kallis


Anneke Scott

13.45 Lunch  
14.30 Parallel sessions  
 

Recital hall

‘Poplars, Bells, and Marches: Joseph Joachim’s Drei Stücke Op. 5, or, The Limits of Musical Ciphers’

 

Katharina Uhde and R. Larry Todd

16.30 Refreshments  
17.00 - 18.00 Keynote three Giorgio Sanguinetti
19.00 Dinner  

Conferences

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